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Composers In Person

Composers In Person / Various (Box)
Release Date: 11/24/2008 
Label:  Emi Classics   Catalog #: 17575   Spars Code: ADD 
Composer:  Béla BartókErnö von DohnányiPaul HindemithAram Khachaturian,   ... 
Performer:  Béla BartókVilma MedgyaszayFerenc SzekeresZoltán Székely,   ... 
Conductor:  Lawrence CollingwoodPaul HindemithAram KhachaturianArthur Honegger,   ... 
Orchestra/Ensemble:  Percurama Percussion Ensemble
Number of Discs: 22 
Length: 3 Hours 54 Mins. 

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Notes and Editorial Reviews

How to sum up this set? Try: twenty-two CDs worth of composer-conducted/performed music of the last century issued from the EMI vaults. It also serves as a tribute to far-sighted engineers and entrepreneurs both anonymous and celebrated who made momentous and probably bitterly-fought decisions over the last eight decades. In this connection Fred Gaisberg rubs shoulders with Joe Batten and with Lawrance Collingwood - who also conducts the Dohnanyi piece. Some composers - Hindemith and Stravinsky - get two discs a piece, others just one disc or they share space with another composer.

These discs were first issued as individual full price CDs during 1994-1997. They were and remain a luxury product. The notes for those discs have
Read more not survived the translation to this bargain box. They were splendid and of palatial length. Many were of such length that the girth of the booklets strained at the lugs of the jewel case. Those discs basked briefly in the shop-front sunshine then disappeared only to be fought over on e-bay. Perhaps EMI executives have reissued these discs because they are now so fiercely sought after. The only one I bought while it was still new was the Medtner. Later I heard the Khachaturian when reissued by Archiv. Otherwise I have bayed after the Roussel/Schmitt and Pfitzner discs but never been able to track them down or my e-bay bids were hopelessly inadequate.

The buzz on the classical recordings newsgroup was that this was a box looking for an audience that is no longer there. I doubt that this right. True, the old hands will have already tracked down the discs they wanted. There are however emerging new generations out there and for them this is another signal bargain of fascinating material in overflowing quantity. It is a box that affords the pleasure of old friends, familiar works in composer-played/directed performances and of works not heard before. The rub comes with the occasionally distressed sound quality but that is a small price to pay for that authentic ring.

Allowing for the ancient Granados tracks the oldest recording is from 1926. That’s the one that has Strauss conducting Rosenkavalier in its film music adaptation. The latest is the 1958 one of Milhaud conducting Le Boeuf sur le Toit and Shostakovich in his piano concertos and solo pieces (CD14). All of which reminds me that the most fragmentary discographical documentation relates to those sessions taken down in France. Otherwise the recording details are recounted in princely detail. Speaking of Paris, the two Stravinsky discs present Pathé Marconi recordings from the 1930s. Samuel Dushkin, dedicatee and first champion of the Stravinsky Violin Concerto, is common to many of those Paris Stravinsky collaborations.

Bartók is caught in sessions from London and Budapest. The sound is slightly treble-starved but the febrile rhythmic flight of the piano music is caught just as faithfully as the vibrant folk-authentic singing of Vilma Medgyaszay, Maria Basilides and the penetrating tone of the tenor Ferenc Szekelyhid. We hear the husky volatility of Szigeti with the composer in the Rumanian and Hungarian folk-tunes. It is interesting how many of these tracks make Bartók sound more like Kodály than he did in the works for which Bartók is better known.

Dohnanyi was no revolutionary; Bartók was. Dohnanyi was very much the Brahmsian as we can tell from this set of Variations where Dohnanyi's Hungarian roots are cloaked in a weightily shadowed Brahmsian fabric. There's humour in Twinkle Twinkle Little Star being juxtaposed with so much Sturm und Drang. As we know from his two each: symphonies (Chandos), piano concertos (ASV) and violin concertos (ASV Naxos), Dohnanyi was very much at home with the grand manner. Lawrance Collingwood - also a producer with EMI - conducts the LSO. He produces with the composer some magical effects including the enchanted music-box Variation VI. I have never heard it done so well.

Hindemith's 1934 viola solos are typically severe but adept and flowing in the most challenging of elbow gymnastics. Interesting to hear him with Feuermann and Szymon Goldberg recorded in London in 1934. There the works are touched lightly with the Schoenbergian manner.

Twenty-two years later the famous Philharmonia Hindemith sessions are represented y the chummy clarity of Nobilissima Visione, the silvery flow and occasional sternness of Serena, the wild and woolly liberation of the Clarinet Concerto, the Dennis Brain-lofted trajectory of the Horn Concerto and the earnest desperation of Concert Music. You can hear all of the pieces recorded in those stereo sessions in 1956 on an EMI Classics double.

The Khachaturian London recordings sound very well indeed. Grainy but vibrant they have a gritty thrusting immediacy. Sounding a mite less grainy and certainly 'cleaner' the Violin Concerto is played by its dedicatee. It's a well known piece with spiralling alternately kinetic energy with swooning romance. After the concerto comes a goodly portion of Gayaneh. This taps into the folk atmosphere of Armenia, Georgia, and the Ukraine. It's light but by no means insubstantial and inhabits another world from the OTT Masquerade music. Unmissable.

On CD 5 the warm Mediterranean-basking of Honegger's Pastorale d’été is of a piece with the lulling sweet yet emotion occluded Cello Concerto. Maréchal lays into the allegro marcato with a will though I can imagine a more energetic attack. Still he projects a lovely line in the earlier two movements.

We then turn to Poulenc in Paris in 1928, 1932 and 1934 for his fresh and treble rich Mouvements perpetuels. These are lilting and effervescent without braggartry. The trio for piano, bassoon and oboe is a work of frost-bound hesitancy, music-hall sentimentality and chuckling bonhommie. The other piano solos are fractals shot through with shafts of emotion - often sensitive and touching. The Aubade for piano and eighteen instruments, in the hands of the composer, sounds excellent by comparison with the busy surfaces of the other recordings.

Interesting to hear Widor in his famous Toccata recorded at Saint Sulpice in 1932. This is not as winged as I had expected - more lead-weighted and plodding. Vierne in his Marche Episcopale takes the stride in unhurried imperial finery. Marcel Dupré's Berceuse rocks the cradle with secure and self-hypnotic confidence. Then comes the rending of the curtain from ceiling to flagstone as propelled by Messiaen. The composer’s recording of the terrifyingly spangled sunshine of Transports from L'Ascension was made 12 years after the work was written.

I am in a minority of one in finding the Menuhin-Elgar nowhere near as exciting as later versions of the Violin Concerto. Contrary to all my usual preconceptions my preference is for the extraordinary Heifetz with Sargent in the 1950s (Naxos). I also rate highly Nigel Kennedy’s two versions. Still, this much lauded version documents a moment in history and is well worth your attention. Then from 78s we hear Beatrice Harrison in the Cello Concerto. This is so much better … and fascinating too. It comes all the way back from 1928 - four years before the Menuhin Violin Concerto recording. It's value remains as a glowing insight and catches Harrison's spirited and emotionally rounded reading. Even were the sound better than this I would however still prefer the Dupré Philadelphia version (Sony-CBS) recorded in the early 1970s.

CD 8 - continuing the organ connection there is more from Messiaen. There’s a whole disc full of those 1956 recordings in Eglise de la Sainte Trinité. These also appear in the new 14 CD Messiaen set from EMI. Messiaen floods his scores with light - a master worker captured here as both volatile technician and creator.

On CD 9 we encounter Collingwood as producer rather than conductor in the splendid Prokofiev Piano Concerto No. 3. The conductor is Piero Coppola who takes this most Ravelian of the Prokofiev concertos by the scruff of its unruly neck. Not that he starves the ice-delicate fantasy of the second movement. Fairy-tale grotesquerie haunts the piano solos until we get to the classical magic of the transcribed Gavotte from the Classical Symphony.

As Bartók is to Dohnanyi so Prokofiev is to Glazunov. The latter recorded The Seasons during one of his world tours in 1929 for his established home in Paris. Give me instead the Melodiya version once available on LP from Boris Khaikhin – never reissued on CD. This version is however very handsome and well-turned. Wonderful to hear the 65 year old composer directing this magically spun work which along with the treasurable violin concerto and the zestful Fourth Symphony is among his masterworks. If Autumn sounds a little leaden and under-urged it still cuts the ice and a measure of exuberance is recaptured in the Finale. It can also be heard scrubbed and cleaned on Dutton and in all its top end brilliance amid whiskery surface noise on Pearl.

The Villa-Lobos recordings are familiar from so many different guises of reissue. The Bachianas Brasileiras No 2 is the most life-enhancing recording so far and for 1956 has wonderful glow, lustre and presence as does the recessed-discreet De Los Angeles BB5. Frederick Fuller, recorded in London in 1948, has a creditable snatch at idiomatic singing of the two Villa-Lobos songs but he falls short because of that oh-so-English accent. Momoprecoce and Choros 10 are suitably feral, dangerous, jungle unchained and overwhelmingly uncivilised.

The Pfitzner disc includes the oldest recording here - the 1927 Christelflein overture. This is placid and centred music with a lighter than usual Teutonic innocence about it. The sessions took place in 1927 in Berlin. The sound is really quite respectable. Four years later the composer also conducted the three Preludes from his grand philosophical opera Palestrina. The first and last are Tallis-like while the second is irate and even ruthless with a Straussian caste to the language. The busily lyrical Duo is heart-warming and prompts thoughts of the Brahms Double Concerto and Howells' Elegy. It also reminded me yet again of Roham de Saram's Radio 3 broadcast, all of thirty years ago, when he made such a fine case for Pfitzner's First Cello Concerto - I have never heard its like since. Then for the second half of the disc there are 12 songs in which Gerhard Husch is accompanied by the composer. They stand in that grand lieder tradition established by Schubert and moved forward only a shade by Pfitzner. These are lovely songs, mined from the same deep and wide lyrical fleuve which empowers Pfitzner's wonderful cantata Von Deutsche Seele – the latter recently issued by Phoenix Edition.

After Poulenc – not that we have finished with him - and Honegger we come to an all-Milhaud disc in CD 12. Nine years after it was written Milhaud took La Création du Monde into the studio in Paris. The results are raucous and a shade dissolute - just as they should be. In 1938 the composer joined Marcelle Meyer in the brightly entertaining Scaramouche with its South American accenting. 1956 saw the composer in Hollywood to record the Saudades do Brasil and the Suite Provencale. In the Saudades one can cut the street fragrance with a knife - exotica and danger and delight. Perhaps a touch too of that port back-alley ambience so aptly caught by Ibert in his Escales. It's all a bit raucous but there's seduction as well as a sinister blare - try Corcovado for size. Suite Provencale bursts and wheezes with countryside pride and bombast. It sounds at one moment just a little like Bizet's l'Arlésienne yet in contemporary weeds and at another like Warlock's Capriol. The most recent track on CD 12 is the jazzy Le Boeuf sur le Toit. The sessions occurred in 1958 in Paris. It predates La Création by four years.

Poulenc returns for CD 13 with his chansons sung by Pierre Bernac. These range from the odd-ball strange Le Bestiaire to the dramatic smooth Le front comme un drapeau perdu.

I am doubly unfortunate in the second part of CD 13 which is all-Britten. These songs fail to speak to me. The effect is exacerbated by Pears’ voice which, even caught in his greenest days, remains nasal, vinegary and unpleasing. This is an obstacle even in a rather fine song like Rendete a gli occhi miei (tr. 24). If this is repertoire that you appreciate - and most people do - then be aware that Pears has no trace of the bray he later developed and the recording quality is clear as a bell. For me, poor benighted me, this remains bleached and etiolated music-making.

Shostakovich the pianist dominates CD 14 in recordings made in Paris in 1958. The First Concerto is quirky and feelingly done. It is in bright superficial circus mood - very Parisian-silly it sounds here. The Second Concerto is loads of fun and always was. I got to know it in Leonard Bernstein's peerless version - the one in which he both plays and conducts. It is a fine piece of romantic entertainment where expressive means match the musical substance in perfect equipoise. The movement to sample is the first in which a master-craftsman has been at work. Populism meets art without doing too much damage to art. Wonderful fun and the composer achieves a fine frenzy at the end of the first movement. For a modern recording try the superb Hyperion version - however the Bernstein on Sony-CBS remains Hall of Fame material. For gentler and more nuanced music-making try the first of the Three Fantastic Dances. More meditative and rounded are the selection of five Preludes and Fugues from the sequence of twenty-four. Previously issued on EMI GROC

The next two discs are devoted to Stravinsky recordings made in Paris predominantly in the early 1930s. The first and last are exceptions. Les Noces was recorded in London in 1934 in a bowdlerised English text. However it cracks along eagerly recalling, from time to time, Orff's Carmina trilogy. The pioneering sense of these two discs is strong indeed. Notable is the 1931 recording of the Symphony of Psalms with the Walther Straram orchestra. I was expecting a monumental effect but at the end I was more aware of the calming qualities of the work. The Pastorale creaks with hurdy-gurdy redolence and even a shade of the Canteloube Auvergne. Later he found classical poise in the arrangements from Pulcinella of which we hear two from the Suite Italienne. From rustic magic Dushkin strikes sparks and smithereens and inveigling enchantment around the composer's transcriptions of two Firebird excerpts. He returns to Russian traditional spirit for the Danse Russe from Petrushka. Dushkin was a mighty fiddler and his articulation in particular has a refreshing joyous precision. You can hear that in the two segments from Le Chant du Rossignol. Ragtime is upbeat, wheezy, urgent and abrasively jazzy. Piano-rag-music sounds a mite shattery. From 1938 comes the intriguing Concerto played here with his son Soulima. Try sampling the Quattro variazioni movement. By the way it takes some getting used to that Stravinsky is heard on EMI. He's a name overwhelmingly associated with CBS - witness the massive Sony box sets recently reviewed here.

Richard Strauss is represented by his often overblown Alpensinfonie which is handsomely tracked - one for each of the 22 programmatic episodes. It's a wartime recording made in Munich. The music has a grand and confident sweep even when in its gentler pictorial Manfred aspects. Listening to the cataracts of sound in The Thunderstorm segment I made mental comparison with a work written some five years later - the prelude to Sibelius’s The Tempest. The result was much in Sibelius's favour although Strauss does provide a strong imaginative response. This recording dates from 1941. The other Strauss work is from 1926 - its a confection boiled up from the Rosenkavalier music for a film of the 1910 opera. There are some movingly fragile moments in The Presentation of the Silver Rose and the Act 3 Trio.

A Spanish composers disc miraculously lets us here the playing of Granados although the El pelele has suffered real surface damage which compromises the effect a little. De Falla's music offers us the at times tempestuous, penetrating and moving soprano of Maria Barrientos. The nicest of her nine tracks is Jota where her nightingale blue-sky trills are strongly memorable. She darkens her voice for Polo and lightens it again for Cancion del fuego fatuo. De Falla's Stravinskian Harpsichord Concerto chimes relentlessly and links with the Parisian desiccation of Martin? and other composers inveigled by the barren neo-classical sirens. Fascinating stuff even if the charms are that of mechanical artifice. Mompou came to London in 1950 and recorded a selection of his music for solo piano. It's precious stuff and full of yielding delights - sincere and free of contrived emotion. Nin recorded these six songs from his 20 Cantos Populares Espanolas in Paris in 1929 with Ninon Vallin. There are some similarities in vocal character with the voice of Maria Barrientos. These are pleasing pieces of considerable charm rather than emotional transfiguration.

Elgar and Holst vie side by side on CD19 in two completely well known recordings. Elgar pushes the RAH Orchestra in Enigma but nothing sounds rushed. In fact it is very entertaining except that the rowdier movements such as WMB and Troyte can sound a mite splintery and gabbled. Much to my surprise I found myself being reminded of Beecham's underrated version of Enigma. This one has the same speed of despatch - joy in both virtuosity and poetry.

Holst's own Planets has been repeatedly reissued most recently on Naxos Historical paired with Vaughan Williams conducting his own Fourth Symphony. That discs's coupling offers a better symmetry in that Holst and RVW were close friends separated only by Holst's death in 1934. For a fine modern recording of The Planets at an inexpensive price tab try Handley and the RPO on blessèd Regis. Do however keep on the look-out for George Hurst's exceptional recording with the Bournemouth orchestra once issued on a Contour LP circa 1974. Listening to the Holst version again one can only express admiration for the LSO who performed the piece with astounding élan and attention to detailing and grand sweep. Interestingly the Elgar and the Holst were recorded the same year. The Holst sounds in much better heart.

Lehár is represented by almost 78 minutes of operetta material much of it taken down inside Nazi Germany. It is sumptuous and feathery stuff done with great gusto by those who knew and made the idiom. And with voices such as those of Maria Reining (tr. 4) and Esther Rethy (tr. 6) this disc is one of the succulent treasures amid the fascinating and the merely historical-significant. The same can be said of the perfection of Tauber's Dein ist mein ganzes herz - pity about the tendency of the sound to fragment under such ecstatic pressure. But then this was made in 1929. Whether it is Rethy, Reining, Novotna or Vera Schwarz there is no trace of the affected flutter which more modern operetta singers regard as de rigueur and stylish.

The last two discs in the chest are treasure indeed. The first of these is occupied by Medtner recordings. It’s just a selection of those made in the mid-1930s and also at the end of the composer's life in England. They came about with financial assistance from the Maharajah of Mysore. APR have done those even more methodically over four discs. It is such a pity that EMI did not include the Piano Quintet which I understood at one time had been recorded by the composer as part of the Mysore project. Testament have for many years had the two last piano concertos, as recorded by the composer, on one CD. Strange that the composer’s First Piano Concerto recording has been terribly neglected though it can be heard on a private Pine Trees label recording sometimes offered on E-bay.

The Russian Round Dance with Moisweitsch as primo is full of glinting life sometimes sounding very close to Arthur Benjamin. Still awaiting the sort of intégrale treatment that the Rachmaninov songs have received are Medtner's many romances. They need a Graham Johnson to document them as well as totally idiomatic performers – the sort of choices made by Martin Anderson;s Toccata when recording rare Russian repertoire. Meantime the seven songs taken by Slobodskaya and the 14 German language songs (including several sung in jewel-etched English translation) assigned to Schwarzkof offer an indispensable link back to the true tradition. Most of these tracks are from the post-war years but some of the piano solos, including the totally captivating Allegro con espressione were recorded by the composer with Collingwood as producer in 1936. The Schwarzkopf recordings sound magnificent - a marvel of the engineer's craft at the time and in the restoration.

Roussel rubs shoulders with Schmitt. Roussel's Festin is typically delicate and resilient but the 1929 technology, for all that it sometimes surprises, is put under strain. Completely successful is the rapid-fire Danse de l'Ephémère which I have never heard done so well. It is as if Golovanov had been set loose upon it. By contrast the finale, where night and sleep begin to suffuse the garden, is just that shade too urgent. Claire Croiza sings five songs accompanied by the composer. The finest piano tracery in Le Jardin is matched by Croiza. The big Lento from Schmitt's Piano Quintet is here played by the composer and the Calvet quartet. It’s a tranced movement - what a pity that only this movement was recorded. The six movement Tragédie de Salomé again deploys the Walther Straram orchestra, by now familiar from other tracks on this set (the Stravinsky Symphony of Psalms and Capriccio and Poulenc's Aubade). They make a sultry fist of this piece of finely spun exotica. The magical melody in the first movement, with all its Baxian aspiration, is nicely rolled and emoted. Schmitt comes out of the juxtaposition with Roussel with nothing to blush about.

Many of these recordings have been re-mastered from original sources and, we are told, have been selected and handed with great care by Ken Jagger (1945-2007), the moving force behind the series. Not all have been taken from master sources. Thus, for example, two rare songs by Poulenc have been transcribed expertly from 78s loaned to EMI by Richard Bebb

At this bargain price you have make some sacrifices. The box is a little insubstantial - more stiff card than robust cardboard. By comparison with the original single CDs the notes are scant indeed. What you get is a track-list and a good and compact yet inevitably generalised essay by Julian Anderson. The originals had full texts and translations. No texts here. To remind yourself try to have a look at the splendid original booklets - if you can find them – for the Medtner and Pfitzner volumes.

Much to discover and celebrate here. A rewarding bargain of recordings with that authentic ring.

-- Rob Barnett, MusicWeb International
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Works on This Recording

1.
Bagatelles (14) for Piano, Op. 6/Sz 38: no 2, Allegro giocoso by Béla Bartók
Performer:  Béla Bartók (Piano)
Period: 20th Century 
Written: 1908; Budapest, Hungary 
Date of Recording: 11/20/1929 
Venue:  Budapest, Hungary 
Length: 0 Minutes 51 Secs. 
2.
Easy Pieces (10) for Piano, Sz 39: no 5, Evening in Transylvania by Béla Bartók
Performer:  Béla Bartók (Piano)
Period: 20th Century 
Written: 1908; Budapest, Hungary 
Date of Recording: 11/05/1929 
Venue:  Budapest, Hungary 
Length: 2 Minutes 42 Secs. 
3.
Easy Pieces (10) for Piano, Sz 39: no 10, Bear Dance by Béla Bartók
Performer:  Béla Bartók (Piano)
Period: 20th Century 
Written: 1908; Budapest, Hungary 
Date of Recording: 11/05/1929 
Venue:  Budapest, Hungary 
Length: 1 Minutes 42 Secs. 
4.
Romanian Dances (2) for Piano, Op. 8a/Sz 43: no 1, Allegro vivace by Béla Bartók
Performer:  Béla Bartók (Piano)
Period: 20th Century 
Written: 1909-1910; Budapest, Hungary 
Date of Recording: 11/05/1929 
Venue:  Budapest, Hungary 
Length: 4 Minutes 15 Secs. 
5.
Burlesques (3) for Piano, Op. 8c/Sz 47: no 2, A bit drunk by Béla Bartók
Performer:  Béla Bartók (Piano)
Period: 20th Century 
Written: 1911; Budapest, Hungary 
Date of Recording: 11/20/1929 
Venue:  Budapest, Hungary 
Length: 2 Minutes 7 Secs. 
6.
Allegro barbaro for Piano, Sz 49 by Béla Bartók
Performer:  Béla Bartók (Piano)
Period: 20th Century 
Written: 1911; Budapest, Hungary 
Date of Recording: 11/05/1929 
Venue:  Budapest, Hungary 
Length: 2 Minutes 29 Secs. 
7.
Suite for Piano, Op. 14/Sz 62 by Béla Bartók
Performer:  Béla Bartók (Piano)
Period: 20th Century 
Written: 1916; Budapest, Hungary 
Date of Recording: 11/05/1929 
Venue:  Budapest, Hungary 
Length: 7 Minutes 33 Secs. 
8.
Mikrokosmos, Sz 107: Book 5, no 124, Staccato by Béla Bartók
Performer:  Béla Bartók (Piano)
Period: 20th Century 
Written: 1926-1939; Budapest, Hungary 
Date of Recording: 02/05/1937 
Venue:  EMI Abbey Road Studios, London, England 
Length: 1 Minutes 17 Secs. 
9.
Mikrokosmos, Sz 107: Book 6, no 146, Ostinato. Vivacissimo by Béla Bartók
Performer:  Béla Bartók (Piano)
Period: 20th Century 
Written: 1926-1939; Budapest, Hungary 
Date of Recording: 02/05/1937 
Venue:  EMI Abbey Road Studios, London, England 
Length: 2 Minutes 17 Secs. 
10.
Hungarian Folksongs, Sz 33: no 1, I left my fair homeland by Béla Bartók
Performer:  Vilma Medgyaszay (), Béla Bartók (Piano)
Period: 20th Century 
Written: 1906/1938; Hungary 
Date of Recording: 12/05/1928 
Venue:  Budapest, Hungary 
Length: 5 Minutes 38 Secs. 
11.
Hungarian Folksongs (8), Sz 64: no 1, Black is the earth by Béla Bartók
Performer:  Béla Bartók (Piano)
Period: 20th Century 
Written: 1907-1911; Budapest, Hungary 
Date of Recording: 12/07/1928 
Venue:  Budapest, Hungary 
Length: 5 Minutes 4 Secs. 
12.
Hungarian Folksongs (8), Sz 64: no 5, If I climb by Béla Bartók
Performer:  Ferenc Szekeres (), Béla Bartók (Piano)
Period: 20th Century 
Written: 1907-1911; Hungary 
Date of Recording: 12/07/1928 
Venue:  Budapest, Hungary 
Length: 3 Minutes 57 Secs. 
13.
Work(s): 7 Hungarian Folk Tunes (from For Children, Sz42) by Béla Bartók
Performer:  Zoltán Székely (Violin), Béla Bartók (Piano)
Period: Modern 
Written: 1890-1945 
Venue:  Kingsway Hall, London, England 
Length: 7 Minutes 38 Secs. 
14.
Romanian Folkdances (6) for Piano, Sz 56 by Béla Bartók
Performer:  Zoltán Székely (Violin), Béla Bartók (Piano)
Period: 20th Century 
Written: 1915; Budapest, Hungary 
Venue:  Kingsway Hall, London, England 
Length: 5 Minutes 26 Secs. 
15.
Variations on a Nursery Song for Piano and Orchestra, Op. 25 by Ernö von Dohnányi
Performer:  Ernö von Dohnányi (Piano)
Conductor:  Lawrence Collingwood
Period: 20th Century 
Written: 1914; Berlin, Germany 
Venue:  Kingsway Hall, London, England 
Length: 19 Minutes 2 Secs. 
16.
Sonata for Viola solo, Op. 25 no 1 by Paul Hindemith
Performer:  Paul Hindemith (Viola)
Period: 20th Century 
Written: 1922; Germany 
Date of Recording: 01/23/1934 
Venue:  EMI Abbey Road Studios, London, England 
Length: 14 Minutes 9 Secs. 
17.
Scherzo for Viola and Cello by Paul Hindemith
Performer:  Emanuel Feuermann (Cello), Paul Hindemith (Viola)
Period: 20th Century 
Written: ?1934; Germany 
Date of Recording: 01/23/1934 
Venue:  EMI Abbey Road Studios, London, England 
Length: 3 Minutes 31 Secs. 
18.
Nobilissima Visione by Paul Hindemith
Conductor:  Paul Hindemith
Period: 20th Century 
Written: 1938; Switzerland 
Date of Recording: 11/21/1956 
Venue:  Kingsway Hall, London, England 
Length: 25 Minutes 9 Secs. 
19.
Symphonia Serena by Paul Hindemith
Conductor:  Paul Hindemith
Period: 20th Century 
Written: 1946; USA 
Date of Recording: 11/21/1956 
Venue:  Kingsway Hall, London, England 
Length: 33 Minutes 10 Secs. 
20.
Trio for Strings no 2 by Paul Hindemith
Performer:  Szymon Goldberg (Violin), Emanuel Feuermann (Cello), Paul Hindemith (Viola)
Period: 20th Century 
Written: 1933; Germany 
Date of Recording: 01/21/1934 
Venue:  EMI Abbey Road Studios, London, England 
Length: 22 Minutes 38 Secs. 
21.
Concerto for Clarinet by Paul Hindemith
Performer:  Louis Cahuzac (Clarinet)
Conductor:  Paul Hindemith
Period: 20th Century 
Written: 1947; USA 
Date of Recording: 11/22/1956 
Venue:  Kingsway Hall, London, England 
Length: 24 Minutes 19 Secs. 
22.
Concerto for Horn by Paul Hindemith
Performer:  Dennis Brain (Horn)
Conductor:  Paul Hindemith
Period: 20th Century 
Written: 1949; USA 
Date of Recording: 11/19/1956 
Venue:  Kingsway Hall, London, England 
Length: 14 Minutes 23 Secs. 
23.
Konzertmusik for Brass and Strings, Op. 50 by Paul Hindemith
Conductor:  Paul Hindemith
Period: 20th Century 
Written: 1930; Germany 
Venue:  Kingsway Hall, London, England 
Length: 16 Minutes 10 Secs. 
24.
Masquerade: Waltz by Aram Khachaturian
Conductor:  Aram Khachaturian
Period: 20th Century 
Written: 1941; USSR 
Venue:  Kingsway Hall, London, England 
Length: 4 Minutes 15 Secs. 
25.
Masquerade: Nocturne by Aram Khachaturian
Conductor:  Aram Khachaturian
Period: Romantic 
Written: 1941; USSR 
Venue:  Kingsway Hall, London, England 
Length: 4 Minutes 37 Secs. 
26.
Masquerade: Mazurka by Aram Khachaturian
Conductor:  Aram Khachaturian
Period: 20th Century 
Written: 1941; USSR 
Venue:  Kingsway Hall, London, England 
Length: 2 Minutes 31 Secs. 
27.
Concerto for Violin in D minor by Aram Khachaturian
Performer:  David Oistrakh (Violin)
Conductor:  Aram Khachaturian
Period: 20th Century 
Written: 1940; USSR 
Venue:  Kingsway Hall, London, England 
Length: 35 Minutes 38 Secs. 
28.
Gayaneh: Dance of the Rose Maidens by Aram Khachaturian
Conductor:  Aram Khachaturian
Period: 20th Century 
Written: 1942/1957; USSR 
Venue:  Kingsway Hall, London, England 
Length: 2 Minutes 7 Secs. 
29.
Gayaneh: Ayesha's Dance by Aram Khachaturian
Conductor:  Aram Khachaturian
Written: 1942 rev 1952 new ve 
Venue:  Kingsway Hall, London, England 
Length: 5 Minutes 31 Secs. 
30.
Gayaneh: Lullaby by Aram Khachaturian
Conductor:  Aram Khachaturian
Period: 20th Century 
Written: 1942/1957; USSR 
Venue:  Kingsway Hall, London, England 
Length: 5 Minutes 11 Secs. 
31.
Gayaneh: Adagio by Aram Khachaturian
Conductor:  Aram Khachaturian
Period: 20th Century 
Written: 1942/1957; USSR 
Venue:  Kingsway Hall, London, England 
Length: 4 Minutes 18 Secs. 
32.
Gayaneh: Lezghinka by Aram Khachaturian
Conductor:  Aram Khachaturian
Period: 20th Century 
Written: 1942/1957; USSR 
Venue:  Kingsway Hall, London, England 
Length: 2 Minutes 37 Secs. 
33.
Gayaneh: Lyrical Duet by Aram Khachaturian
Conductor:  Aram Khachaturian
Period: Modern 
Written: 1941-1942 
Venue:  Kingsway Hall, London, England 
Length: 5 Minutes 9 Secs. 
34.
Gayaneh: Dance of the old people by Aram Khachaturian
Conductor:  Aram Khachaturian
Period: 20th Century 
Written: 1942/1957; USSR 
Venue:  Kingsway Hall, London, England 
Length: 4 Minutes 21 Secs. 
35.
Gayaneh: Sabre Dance by Aram Khachaturian
Conductor:  Aram Khachaturian
Period: 20th Century 
Written: 1942/1957; USSR 
Venue:  Kingsway Hall, London, England 
Length: 2 Minutes 9 Secs. 
36.
Pastorale d'été by Arthur Honegger
Conductor:  Arthur Honegger
Period: 20th Century 
Written: 1920; France 
Date of Recording: 01/1931 
Venue:  Paris, France 
Length: 7 Minutes 53 Secs. 
37.
Concerto for Cello by Arthur Honegger
Performer:  Maurice Maréchal (Cello)
Conductor:  Arthur Honegger
Period: 20th Century 
Written: 1934; France 
Date of Recording: 01/1931 
Venue:  Paris, France 
Length: 16 Minutes 39 Secs. 
38.
Mouvements perpétuels (3) by Francis Poulenc
Performer:  Francis Poulenc (Piano)
Period: 20th Century 
Written: 1918; France 
Date of Recording: 03/07/1928 
Venue:  Paris, France 
Length: 4 Minutes 36 Secs. 
39.
Trio for Oboe, Bassoon and Piano by Francis Poulenc
Performer:  Roger Lamorlette (Oboe), Francis Poulenc (Piano), Gustave Dherin (Bassoon)
Period: 20th Century 
Written: 1926; France 
Date of Recording: 03/07/1928 
Venue:  Paris, France 
Length: 10 Minutes 40 Secs. 
40.
Novelettes (2) for Piano by Francis Poulenc
Performer:  Francis Poulenc (Piano)
Period: 20th Century 
Written: 1927-1928; France 
Date of Recording: 06/11/1932 
Venue:  Paris, France 
Length: 3 Minutes 36 Secs. 
41.
Nocturnes (8) for Piano: no 1 in C major by Francis Poulenc
Performer:  Francis Poulenc (Piano)
Period: 20th Century 
Written: 1929; France 
Date of Recording: 11/20/1934 
Venue:  Paris, France 
Length: 3 Minutes 24 Secs. 
42.
Nocturnes (8) for Piano: no 2 in A major "Bal de jeunes filles" by Francis Poulenc
Performer:  Francis Poulenc (Piano)
Period: 20th Century 
Written: 1933; France 
Date of Recording: 11/20/1934 
Venue:  Paris, France 
Length: 1 Minutes 20 Secs. 
43.
Nocturnes (8) for Piano: no 4 in C minor "Bal fantôme" by Francis Poulenc
Performer:  Francis Poulenc (Piano)
Period: 20th Century 
Written: 1934; France 
Date of Recording: 11/20/1934 
Venue:  Paris, France 
Length: 1 Minutes 37 Secs. 
44.
Improvisations (10) for Piano, FP 63: no 2 in A flat major by Francis Poulenc
Performer:  Francis Poulenc (Piano)
Period: 20th Century 
Written: 1932; France 
Date of Recording: 11/20/1934 
Venue:  Paris, France 
Length: 1 Minutes 39 Secs. 
45.
Improvisations (10) for Piano, FP 63: no 5 in A minor by Francis Poulenc
Performer:  Francis Poulenc (Piano)
Period: 20th Century 
Written: 1932; France 
Date of Recording: 11/20/1934 
Venue:  Paris, France 
Length: 1 Minutes 25 Secs. 
46.
Improvisations (10) for Piano, FP 63: no 9 in D major by Francis Poulenc
Performer:  Francis Poulenc (Piano)
Period: 20th Century 
Written: 1934; France 
Date of Recording: 11/20/1934 
Venue:  Paris, France 
Length: 1 Minutes 8 Secs. 
47.
Improvisations (10) for Piano, FP 63: no 10 in F major "Eloge des gammes" by Francis Poulenc
Performer:  Francis Poulenc (Piano)
Period: 20th Century 
Written: 1934; France 
Date of Recording: 11/20/1934 
Venue:  Paris, France 
Length: 1 Minutes 30 Secs. 
48.
Aubade for Piano and 18 instruments by Francis Poulenc
Performer:  Francis Poulenc (Piano)
Conductor:  Walther Straram
Period: 20th Century 
Written: 1929; France 
Venue:  Théâtre des Champs-Élysées, Paris, Franc 
Length: 17 Minutes 36 Secs. 
49.
Symphony for Organ no 5 in f minor, Op. 42 no 1: 5th movement, Toccata by Charles-Marie Widor
Performer:  Charles-Marie Widor (Organ)
Period: Romantic 
Written: ?1880; Paris, France 
Venue:  Saint-Sulpice, Paris, France 
Length: 6 Minutes 36 Secs. 
50.
Symphony for Organ no 9 in c/C, Op. 70 "Gothic" by Charles-Marie Widor
Performer:  Charles-Marie Widor (Organ)
Period: Romantic 
Written: by 1895; France 
Venue:  Saint-Sulpice, Paris, France 
Length: 15 Minutes 22 Secs. 
51.
Improvisations (3) for Organ: no 1, March episcopale by Louis Vierne
Performer:  Louis Vierne (Organ)
Period: Romantic 
Written: 1928; France 
Date of Recording: 12/1928 
Venue:  Notre-Dame de Paris 
Length: 3 Minutes 22 Secs. 
52.
Pičces de fantaisie - Suite no 1, Op. 51: 2nd movement, Andantino by Louis Vierne
Performer:  Louis Vierne (Organ)
Period: Romantic 
Written: 1926; France 
Date of Recording: 12/1928 
Venue:  Notre-Dame de Paris 
Length: 3 Minutes 1 Secs. 
53.
Improvisations (3) for Organ: no 3, Cortege by Louis Vierne
Performer:  Louis Vierne (Organ)
Period: Romantic 
Written: 1928; France 
Date of Recording: 12/1928 
Venue:  Notre-Dame de Paris 
Length: 2 Minutes 23 Secs. 
54.
Suite bretonne, Op. 21: Berceuse by Marcel Dupré
Performer:  Marcel Dupré (Organ)
Period: 20th Century 
Written: 1923; France 
Date of Recording: 06/18/1929 
Venue:  Queen's Hall, London, England 
Length: 4 Minutes 9 Secs. 
55.
Preludes and Fugues (3) for Organ, Op. 7: no 3 in G minor by Marcel Dupré
Performer:  Marcel Dupré (Organ)
Period: 20th Century 
Written: 1912; France 
Venue:  Queen's Hall, London, England 
Length: 6 Minutes 0 Secs. 
56.
Le banquet céleste by Olivier Messiaen
Performer:  Olivier Messiaen (Organ)
Period: 20th Century 
Written: 1928; France 
Venue:  L'Église de la Trinité, Paris, France 
Length: 7 Minutes 27 Secs. 
57.
L'Ascension, 4 Meditations for Organ by Olivier Messiaen
Performer:  Olivier Messiaen (Organ)
Period: 20th Century 
Written: 1934; France 
Venue:  L'Église de la Trinité, Paris, France 
Length: 27 Minutes 36 Secs. 
58.
Concerto for Violin in B minor, Op. 61 by Sir Edward Elgar
Performer:  Yehudi Menuhin (Violin)
Conductor:  Sir Edward Elgar
Period: Romantic 
Written: 1909-1910; England 
Venue:  EMI Abbey Road Studios, London, England 
Length: 30 Minutes 27 Secs. 
59.
Concerto for Cello in E minor, Op. 85 by Sir Edward Elgar
Performer:  Beatrice Harrison (Cello)
Conductor:  Sir Edward Elgar
Period: Romantic 
Written: 1919; England 
Date of Recording: 02/23/1928 
Venue:  Kingsway Hall, London, England 
Length: 24 Minutes 56 Secs. 
60.
Apparition de l'église éternelle by Olivier Messiaen
Performer:  Olivier Messiaen (Organ)
Period: 20th Century 
Written: 1932; France 
Date of Recording: 06/04/1956 
Venue:  Église de la Sainte-Trinité 
Length: 10 Minutes 26 Secs. 
61.
La nativité du Seigneur by Olivier Messiaen
Performer:  Olivier Messiaen (Organ)
Period: 20th Century 
Written: 1935; France 
Venue:  Église de la Sainte-Trinité 
Length: 59 Minutes 31 Secs. 
62.
Concerto for Piano no 3 in C major, Op. 26 by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Conductor:  Piero Coppola
Period: 20th Century 
Written: 1917-1921; USA 
Venue:  EMI Abbey Road Studios, London, England 
Length: 24 Minutes 10 Secs. 
63.
Pieces (4) for Piano, Op. 4: no 4, Suggestion diabolique by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Period: 20th Century 
Written: 1910-1912; Russia 
Date of Recording: 03/04/1935 
Venue:  Paris, France 
Length: 2 Minutes 26 Secs. 
64.
Visions fugitives (20) for Piano, Op. 22: no 3, Allegretto by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Period: 20th Century 
Written: 1915-1917; Russia 
Date of Recording: 02/12/1935 
Venue:  Paris, France 
Length: 0 Minutes 55 Secs. 
65.
Visions fugitives (20) for Piano, Op. 22: no 5, Molto giocoso by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Period: 20th Century 
Written: 1915-1917; Russia 
Date of Recording: 02/12/1935 
Venue:  Paris, France 
Length: 0 Minutes 23 Secs. 
66.
Visions fugitives (20) for Piano, Op. 22: no 6, Con eleganza by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Period: 20th Century 
Written: 1915-1917; Russia 
Date of Recording: 02/12/1935 
Venue:  Paris, France 
Length: 0 Minutes 19 Secs. 
67.
Visions fugitives (20) for Piano, Op. 22: no 9, Allegretto tranquillo by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Period: 20th Century 
Written: 1915-1917; Russia 
Date of Recording: 02/12/1935 
Venue:  Paris, France 
Length: 1 Minutes 6 Secs. 
68.
Visions fugitives (20) for Piano, Op. 22: no 10, Ridicolosamente by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Period: 20th Century 
Written: 1915-1917; Russia 
Date of Recording: 02/12/1935 
Venue:  Paris, France 
Length: 0 Minutes 51 Secs. 
69.
Visions fugitives (20) for Piano, Op. 22: no 11, Con vivacitŕ by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Period: 20th Century 
Written: 1915-1917; Russia 
Date of Recording: 02/12/1935 
Venue:  Paris, France 
Length: 0 Minutes 55 Secs. 
70.
Visions fugitives (20) for Piano, Op. 22: no 16, Dolente by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Period: 20th Century 
Written: 1915-1917; Russia 
Date of Recording: 02/12/1935 
Venue:  Paris, France 
Length: 1 Minutes 32 Secs. 
71.
Visions fugitives (20) for Piano, Op. 22: no 17, Poetico by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Period: 20th Century 
Written: 1915-1917; Russia 
Date of Recording: 02/12/1935 
Venue:  Paris, France 
Length: 0 Minutes 52 Secs. 
72.
Visions fugitives (20) for Piano, Op. 22: no 18, Con una dolce lentezza by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Period: 20th Century 
Written: 1915-1917; Russia 
Date of Recording: 02/12/1935 
Venue:  Paris, France 
Length: 1 Minutes 18 Secs. 
73.
Symphony no 1 in D major, Op. 25 "Classical": 3rd movement, Gavotte by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Period: 20th Century 
Written: 1916-1917; Russia 
Date of Recording: 02/26/1935 
Venue:  Paris, France 
Length: 1 Minutes 24 Secs. 
74.
Sonata for Piano no 4 in C minor, Op. 29: Andante by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Period: 20th Century 
Written: 1917; Russia 
Date of Recording: 03/04/1935 
Venue:  Paris, France 
Length: 6 Minutes 14 Secs. 
75.
Pieces (4) for Piano, Op. 32: no 3, Gavotte by Sergei Prokofiev
Performer:  Sergei Prokofiev (Piano)
Period: 20th Century 
Written: 1918; USA 
Date of Recording: 03/04/1935 
Venue:  Paris, France 
Length: 1 Minutes 28 Secs. 
76.
The Seasons, Op. 67 by Alexander Glazunov
Conductor:  Alexander Glazunov
Period: Romantic 
Written: 1899; Russia 
Venue:  Portman Rooms, Baker Street, London, Eng 
Length: 7 Minutes 46 Secs. 
77.
Bachianas brasileiras no 2 for Orchestra: Toccata "O trenzinho do caipira" by Heitor Villa-Lobos
Performer:  Fernand Benedetti (Cello), Victoria de los Angeles ()
Conductor:  Heitor Villa-Lobos
Period: 20th Century 
Written: 1930; Brazil 
Date of Recording: 1933 
Venue:  Salle de la Mutualité, Paris, France 
Length: 4 Minutes 11 Secs. 
78.
Bachianas brasileiras no 5 for Soprano and 8 Cellos by Heitor Villa-Lobos
Performer:  Fernand Benedetti (Cello), Victoria de los Angeles ()
Conductor:  Heitor Villa-Lobos
Period: 20th Century 
Written: 1938-1945; Brazil 
Venue:  Salle de la Mutualité, Paris, France 
Length: 10 Minutes 52 Secs. 
79.
Miniaturas, W 56: no 2, A viola by Heitor Villa-Lobos
Performer:  Frederick Fuller (), Heitor Villa-Lobos (Piano)
Period: 20th Century 
Written: 1917; Brazil 
Date of Recording: 02/12/1948 
Venue:  EMI Abbey Road Studios, London, England 
Length: 2 Minutes 58 Secs. 
80.
Modinhas e cançoes, Album 1, W 365: no 3, Cantilena "Um canto que saiu das senzalas" by Heitor Villa-Lobos
Performer:  Frederick Fuller (), Heitor Villa-Lobos (Piano)
Period: 20th Century 
Date of Recording: 02/12/1948 
Venue:  EMI Abbey Road Studios, London, England 
Length: 2 Minutes 9 Secs. 
81.
Momoprecoce, W 240 by Heitor Villa-Lobos
Performer:  Magda Tagliaferro (Piano)
Conductor:  Heitor Villa-Lobos
Period: 20th Century 
Written: 1929; Brazil 
Venue:  Théâtre des Champs-Élysées, Paris, Franc 
Length: 22 Minutes 48 Secs. 
82.
Bachianas brasileiras no 4 for Orchestra by Heitor Villa-Lobos
Conductor:  Heitor Villa-Lobos
Period: 20th Century 
Written: 1930-1936; Brazil 
Date of Recording: 05/14/1957 
Venue:  Salle de la Mutualité, Paris, France 
Length: 22 Minutes 1 Secs. 
83.
Chôros no 10 for Chorus and Orchestra "Rasga o coracao" by Heitor Villa-Lobos
Conductor:  Heitor Villa-Lobos
Period: 20th Century 
Written: 1926; Paris, France 
Date of Recording: 05/24/1957 
Venue:  Salle de la Mutualité, Paris, France 
Length: 12 Minutes 47 Secs. 
84.
Das Christ-Elflein, Op. 20: Overture by Hans Pfitzner
Conductor:  Hans Pfitzner
Period: Modern 
Written: 1906 
Date of Recording: 1927 
Venue:  Berlin, Germany 
Length: 11 Minutes 0 Secs. 
85.
Palestrina, opera in 3 acts: Act 1. Prelude by Hans Pfitzner
Conductor:  Hans Pfitzner
Period: Modern 
Written: 1911-1915 
Date of Recording: 1931 
Venue:  Berlin, Germany 
Length: 6 Minutes 59 Secs. 
86.
Palestrina, opera in 3 acts: Act 2. Prelude by Hans Pfitzner
Conductor:  Hans Pfitzner
Period: Modern 
Written: 1911-1915 
Date of Recording: 1931 
Venue:  Berlin, Germany 
Length: 6 Minutes 1 Secs. 
87.
Palestrina, opera in 3 acts: Act 3. Prelude by Hans Pfitzner
Conductor:  Hans Pfitzner
Period: Modern 
Written: 1911-1915 
Date of Recording: 1931 
Venue:  Berlin, Germany 
Length: 7 Minutes 25 Secs. 
88.
Duo for violin, cello & piano (or small orchestra), Op 43 by Hans Pfitzner
Performer:  Max Strub (Violin), Ludwig Hoelscher (Cello)
Conductor:  Hans Pfitzner
Period: Modern 
Written: 1937 
Date of Recording: 02/1938 
Venue:  Berlin, Germany 
Length: 13 Minutes 3 Secs. 
89.
Lieder (5), Op. 7: no 1, Hast du von den Fischerkindern by Hans Pfitzner
Performer:  Gerhard Hüsch (), Hans Pfitzner (Piano)
Period: 20th Century 
Written: 1888-1889; Germany 
Date of Recording: 02/04/1938 
Venue:  Electrola Studios 
Length: 2 Minutes 57 Secs. 
90.
Lieder (5), Op. 9: no 1, Der Gärtner by Hans Pfitzner
Performer:  Gerhard Hüsch (), Hans Pfitzner (Piano)
Period: 20th Century 
Written: 1888-1889; Germany 
Date of Recording: 02/10/1939 
Venue:  Electrola Studios 
Length: 2 Minutes 52 Secs. 
91.
Songs (5) for voice & piano, Op 9, No. 2, "Die Einsame", Op. 9/2 by Hans Pfitzner
Performer:  Gerhard Hüsch (), Hans Pfitzner (Piano)
Period: Modern 
Date of Recording: 02/10/1939 
Venue:  Electrola Studios 
Length: 2 Minutes 37 Secs. 
92.
Zum Abschied meiner Tochter, Op.10/3 by Hans Pfitzner
Performer:  Gerhard Hüsch (), Hans Pfitzner (Piano)
Period: Modern 
Date of Recording: 02/10/1939 
Venue:  Electrola Studios 
Length: 2 Minutes 15 Secs. 
93.
Lieder (2), Op. 19: no 2, Michaelskirchplatz by Hans Pfitzner
Performer:  Gerhard Hüsch (), Hans Pfitzner (Piano)
Period: 20th Century 
Written: 1905; Germany 
Date of Recording: 02/10/1939 
Venue:  Electrola Studios 
Length: 2 Minutes 14 Secs. 
94.
Lieder (5), Op. 22: no 1, In Danzig by Hans Pfitzner
Performer:  Gerhard Hüsch (), Hans Pfitzner (Piano)
Period: 20th Century 
Written: 1907; Germany 
Date of Recording: 02/10/1939 
Venue:  Electrola Studios 
Length: 3 Minutes 25 Secs. 
95.
Lieder (5), Op. 26: no 2, Nachts by Hans Pfitzner
Performer:  Gerhard Hüsch (), Hans Pfitzner (Piano)
Period: 20th Century 
Written: 1916; Germany 
Date of Recording: 02/10/1939 
Venue:  Electrola Studios 
Length: 2 Minutes 44 Secs. 
96.
Lieder (4), Op. 29: no 1, Abbitte by Hans Pfitzner
Performer:  Gerhard Hüsch (), Hans Pfitzner (Piano)
Period: 20th Century 
Written: 1922; Germany 
Date of Recording: 02/10/1939 
Venue:  Electrola Studios 
Length: 2 Minutes 41 Secs. 
97.
Lieder (4), Op. 32: no 1, Hussens Kerker by Hans Pfitzner
Performer:  Gerhard Hüsch (), Hans Pfitzner (Piano)
Period: 20th Century 
Written: 1923; Germany 
Date of Recording: 02/04/1938 
Venue:  Electrola Studios 
Length: 4 Minutes 44 Secs. 
98.
Lieder (4), Op. 32: no 2, Säerspruch by Hans Pfitzner
Performer:  Gerhard Hüsch (), Hans Pfitzner (Piano)
Period: 20th Century 
Date of Recording: 02/04/1938 
Venue:  Electrola Studios 
Length: 1 Minutes 23 Secs. 
99.
Lieder (6), Op. 40: no 1, Leuchtende Tage by Hans Pfitzner
Performer:  Gerhard Hüsch (), Hans Pfitzner (Piano)
Period: 20th Century 
Date of Recording: 02/04/1938 
Venue:  Electrola Studios 
Length: 1 Minutes 12 Secs. 
100.
Lieder (6), Op. 40: no 4, Herbstgefühl by Hans Pfitzner
Performer:  Gerhard Hüsch (), Hans Pfitzner (Piano)
Period: 20th Century 
Date of Recording: 02/04/1938 
Venue:  Electrola Studios 
Length: 1 Minutes 35 Secs. 
101.
La création du monde, Op. 81 by Darius Milhaud
Conductor:  Darius Milhaud
Period: 20th Century 
Written: 1923; France 
Date of Recording: 02/1932/03/1932 
Venue:  Studio Albert, Paris, France 
Length: 14 Minutes 52 Secs. 
102.
Scaramouche, Op. 165b by Darius Milhaud
Performer:  Marcelle Meyer (Piano), Darius Milhaud (Piano)
Period: 20th Century 
Written: 1937; France 
Date of Recording: 12/06/1938 
Venue:  Studio Albert, Paris, France 
Length: 8 Minutes 6 Secs. 
103.
Saudades do Brasil, Op. 67 by Darius Milhaud
Conductor:  Darius Milhaud
Period: 20th Century 
Written: 1920-1921; France 
Venue:  Studio 'A', Capitol Tower, Hollywood, CA 
Length: 20 Minutes 11 Secs. 
104.
Suite provençale, Op. 152b by Darius Milhaud
Conductor:  Darius Milhaud
Period: 20th Century 
Written: 1936; France 
Date of Recording: 09/13/1956 
Venue:  Studio 'A', Capitol Tower, Hollywood, CA 
Length: 13 Minutes 54 Secs. 
105.
Le boeuf sur le toit, Op. 58 by Darius Milhaud
Conductor:  Darius Milhaud
Period: 20th Century 
Written: 1919; France 
Venue:  Théâtre des Champs-Élysées, Paris, Franc 
Length: 15 Minutes 8 Secs. 
106.
Le bestiaire by Francis Poulenc
Performer:  Pierre Bernac (), Francis Poulenc (Piano)
Period: 20th Century 
Written: France 
Date of Recording: 12/11/1945 
Venue:  EMI Abbey Road Studios, London, England 
Length: 4 Minutes 46 Secs. 
107.
Chansons gaillardes (8): no 4, Invocation aux parcques by Francis Poulenc
Performer:  Pierre Bernac (), Francis Poulenc (Piano)
Period: 20th Century 
Written: 1925-1926; France 
Date of Recording: 07/07/1936 
Venue:  Studio Albert, Paris, France 
Length: 1 Minutes 34 Secs. 
108.
Chansons gaillardes (8): no 7, La belle jeunesse by Francis Poulenc
Performer:  Pierre Bernac (), Francis Poulenc (Piano)
Period: 20th Century 
Written: 1925-1926; France 
Date of Recording: 07/07/1936 
Venue:  Studio Albert, Paris, France 
Length: 1 Minutes 26 Secs. 
109.
Tel jour, telle nuit by Francis Poulenc
Performer:  Pierre Bernac (), Francis Poulenc (Piano)
Period: 20th Century 
Written: 1936-1937; France 
Date of Recording: 06/26/1946 
Venue:  EMI Abbey Road Studios, London, England 
Length: 11 Minutes 59 Secs. 
110.
Počmes (2) d'Apollinaire: no 1, Dans le jardin d'Anna by Francis Poulenc
Performer:  Pierre Bernac (), Francis Poulenc (Piano)
Period: 20th Century 
Written: 1938; France 
Date of Recording: 07/02/1946 
Venue:  EMI Abbey Road Studios, London, England 
Length: 3 Minutes 2 Secs. 
111.
Métamorphoses (3) by Francis Poulenc
Performer:  Pierre Bernac (), Francis Poulenc (Piano)
Period: 20th Century 
Written: 1943; France 
Date of Recording: 12/11/1945 
Venue:  EMI Abbey Road Studios, London, England 
Length: 4 Minutes 0 Secs. 
112.
Počmes (2) d'Aragon by Francis Poulenc
Performer:  Pierre Bernac (), Francis Poulenc (Piano)
Period: 20th Century 
Written: 1943; France 
Date of Recording: 12/11/1945 
Venue:  EMI Abbey Road Studios, London, England 
Length: 4 Minutes 9 Secs. 
113.
Montparnasse by Francis Poulenc
Performer:  Pierre Bernac (), Francis Poulenc (Piano)
Period: 20th Century 
Written: 1941-1945; France 
Date of Recording: 12/11/1945 
Venue:  EMI Abbey Road Studios, London, England 
Length: 3 Minutes 46 Secs. 
114.
Sonnets (7) of Michelangelo, Op. 22 by Benjamin Britten
Performer:  Peter Pears (), Benjamin Britten (Piano)
Period: 20th Century 
Written: 1940; England 
Date of Recording: 11/20/1942 
Venue:  EMI Abbey Road Studios, London, England 
Length: 15 Minutes 35 Secs. 
115.
Holy Sonnets of John Donne, Op. 35 by Benjamin Britten
Performer:  Peter Pears (), Benjamin Britten (Piano)
Period: 20th Century 
Written: 1945; England 
Venue:  EMI Abbey Road Studios, London, England 
Length: 22 Minutes 27 Secs. 
116.
Concerto for Piano no 1 in C minor, Op. 35 by Dmitri Shostakovich
Performer:  Ludovic Vaillant (Trumpet), Dmitri Shostakovich (Piano)
Conductor:  André Cluytens
Period: 20th Century 
Written: 1933; USSR 
Venue:  Salle Wagram, Paris, France 
Length: 21 Minutes 19 Secs. 
117.
Concerto for Piano no 2 in F major, Op. 102 by Dmitri Shostakovich
Performer:  Dmitri Shostakovich (Piano)
Conductor:  André Cluytens
Period: 20th Century 
Written: 1957; USSR 
Venue:  Salle Wagram, Paris, France 
Length: 17 Minutes 25 Secs. 
118.
Fantastic Dances (3) for Piano, Op. 5 by Dmitri Shostakovich
Performer:  Dmitri Shostakovich (Piano)
Conductor:  André Cluytens
Period: 20th Century 
Written: 1922; USSR 
Date of Recording: 05/30/1958 
Venue:  Salle Wagram, Paris, France 
Length: 2 Minutes 21 Secs. 
119.
Preludes and Fugues (24) for Piano, Op. 87: no 1 in C major by Dmitri Shostakovich
Performer:  Dmitri Shostakovich (Piano)
Conductor:  André Cluytens
Period: 20th Century 
Written: 1950-1951; USSR 
Date of Recording: 09/12/1958 
Venue:  Salle Wagram, Paris, France 
Length: 4 Minutes 57 Secs. 
120.
Preludes and Fugues (24) for Piano, Op. 87: no 4 in E minor by Dmitri Shostakovich
Performer:  Dmitri Shostakovich (Piano)
Conductor:  André Cluytens
Period: 20th Century 
Written: 1950-1951; USSR 
Date of Recording: 09/12/1958 
Venue:  Salle Wagram, Paris, France 
Length: 7 Minutes 26 Secs. 
121.
Preludes and Fugues (24) for Piano, Op. 87: no 5 in D major by Dmitri Shostakovich
Performer:  Dmitri Shostakovich (Piano)
Conductor:  André Cluytens
Period: 20th Century 
Written: 1950-1951; USSR 
Date of Recording: 09/12/1958 
Venue:  Salle Wagram, Paris, France 
Length: 2 Minutes 51 Secs. 
122.
Preludes and Fugues (24) for Piano, Op. 87: no 23 in F major by Dmitri Shostakovich
Performer:  Dmitri Shostakovich (Piano)
Conductor:  André Cluytens
Period: 20th Century 
Written: 1950-1951; USSR 
Date of Recording: 09/12/1958 
Venue:  Salle Wagram, Paris, France 
Length: 6 Minutes 44 Secs. 
123.
Preludes and Fugues (24) for Piano, Op. 87: no 24 in D minor by Dmitri Shostakovich
Performer:  Dmitri Shostakovich (Piano)
Conductor:  André Cluytens
Period: 20th Century 
Written: 1950-1951; USSR 
Date of Recording: 09/12/1958 
Venue:  Salle Wagram, Paris, France 
Length: 11 Minutes 42 Secs. 
124.
Les noces by Igor Stravinsky
Performer:  Kate Winter (), Edwin Benbow (Piano), Parry Jones (),
Leslie Heward (Piano), Roy Henderson (), Ernest Lush (Piano),
Berkeley Mason (Piano)
Conductor:  Igor Stravinsky
Orchestra/Ensemble:  Percurama Percussion Ensemble
Period: 20th Century 
Written: Switzerland 
Date of Recording: 07/10/1934 
Venue:  EMI Abbey Road Studios, London, England 
Length: 23 Minutes 0 Secs. 
125.
Octet for Wind Instruments by Igor Stravinsky
Performer:  Pierre Vignol (Trumpet), Raphaël Delbos (Trombone), Andre Lafosse (Trombone),
Emile Godeau (Clarinet), Marus Piard (Bassoon), Eugčne Foveau (Trumpet),
Marcel Moyse (Flute), Gustave Dherin (Bassoon)
Conductor:  Igor Stravinsky
Period: 20th Century 
Written: 1923/1952; France 
Venue:  Studio Albert, Paris, France 
Length: 15 Minutes 11 Secs. 
126.
Capriccio for Piano and Orchestra by Igor Stravinsky
Performer:  Igor Stravinsky (Piano)
Conductor:  Ernest Ansermet
Period: 20th Century 
Written: 1928-1929; France 
Venue:  Théâtre des Champs-Élysées, Paris, Franc 
Length: 17 Minutes 35 Secs. 
127.
Symphony of Psalms by Igor Stravinsky
Conductor:  Igor Stravinsky
Period: 20th Century 
Written: 1930/1948; France 
Venue:  Théâtre des Champs-Élysées, Paris, Franc 
Length: 21 Minutes 9 Secs. 
128.
Pastorale for Violin, Oboe, English Horn, Clarinet and Bassoon by Igor Stravinsky
Performer:  Samuel Dushkin (Violin), Andre Vacellier (Clarinet), Gabriel Grandmaison (Bassoon),
Louis Gromer (Oboe)
Conductor:  Igor Stravinsky
Period: 20th Century 
Written: 1933; France 
Date of Recording: 06/06/1933 
Venue:  Studio Albert, Paris, France 
Length: 2 Minutes 48 Secs. 
129.
Scherzo for Violin and Piano by Igor Stravinsky
Performer:  Samuel Dushkin (Violin), Igor Stravinsky (Piano)
Period: 20th Century 
Written: 1933; France 
Date of Recording: 06/06/1933 
Venue:  Studio Albert, Paris, France 
Length: 2 Minutes 46 Secs. 
130.
Berceuse for Violin and Piano by Igor Stravinsky
Performer:  Samuel Dushkin (Violin), Igor Stravinsky (Piano)
Period: 20th Century 
Written: 1929-1933; France 
Date of Recording: 04/06/1933 
Venue:  Studio Albert, Paris, France 
Length: 3 Minutes 16 Secs. 
131.
Pétrouchka: Danse russe by Igor Stravinsky
Performer:  Samuel Dushkin (Violin), Igor Stravinsky (Piano)
Period: 20th Century 
Written: 1911/1947; Switzerland 
Date of Recording: 04/06/1933 
Venue:  Studio Albert, Paris, France 
Length: 2 Minutes 51 Secs. 
132.
Chants du rossignol et Marche chinoise for Violin and Piano by Igor Stravinsky
Performer:  Samuel Dushkin (Violin), Igor Stravinsky (Piano)
Period: 20th Century 
Written: 1932; France 
Date of Recording: 06/08/1933 
Venue:  Studio Albert, Paris, France 
Length: 8 Minutes 4 Secs. 
133.
Rag-time for 11 instruments by Igor Stravinsky
Performer:  Louis Juste (Double Bass), Henri Volant (Violin), Emile Godeau (Clarinet),
Lucien Lavaillote (Flute), Roland Charmy (Violin), Étienne Ginot (Viola),
Eugčne Foveau (Trumpet), Roger Tudesq (Trombone), Jean Devemy (Horn),
Aladár Rácz (Cimbalom), Jean Morel (Percussion), Igor Stravinsky (Piano)
Period: 20th Century 
Written: 1918; Switzerland 
Date of Recording: 07/13/1934 
Venue:  Studio Albert, Paris, France 
Length: 4 Minutes 26 Secs. 
134.
Piano-rag-music by Igor Stravinsky
Performer:  Igor Stravinsky (Piano)
Period: 20th Century 
Written: 1919; Switzerland 
Date of Recording: 07/05/1934 
Venue:  Studio Albert, Paris, France 
Length: 3 Minutes 18 Secs. 
135.
Suite italienne for Violin and Piano: 2nd movement, Serenata by Igor Stravinsky
Performer:  Samuel Dushkin (Violin), Igor Stravinsky (Piano)
Period: 20th Century 
Written: 1932; France 
Date of Recording: 04/07/1933 
Venue:  Studio Albert, Paris, France 
Length: 2 Minutes 53 Secs. 
136.
Suite italienne for Violin and Piano: 5th movement, Scherzino by Igor Stravinsky
Performer:  Samuel Dushkin (Violin), Igor Stravinsky (Piano)
Period: 20th Century 
Written: 1932; France 
Date of Recording: 04/07/1933 
Venue:  Studio Albert, Paris, France 
Length: 1 Minutes 27 Secs. 
137.
Serenade for Piano in A major by Igor Stravinsky
Performer:  Igor Stravinsky (Piano)
Period: 20th Century 
Written: 1925; France 
Venue:  Studio Albert, Paris, France 
Length: 10 Minutes 0 Secs. 
138.
Duo concertant for Violin and Piano by Igor Stravinsky
Performer:  Samuel Dushkin (Violin), Igor Stravinsky (Piano)
Period: 20th Century 
Written: 1931-1932; France 
Venue:  Studio Albert, Paris, France 
Length: 14 Minutes 4 Secs. 
139.
Concerto for 2 Pianos by Igor Stravinsky
Performer:  Soulima Stravinsky (Piano), Igor Stravinsky (Piano)
Period: 20th Century 
Written: 1931-1935; France 
Venue:  Studio Pathé-Marconi, Paris, France 
Length: 19 Minutes 30 Secs. 
140.
Eine Alpensinfonie, Op. 64 by Richard Strauss
Conductor:  Richard Strauss
Period: Romantic 
Written: 1911-1915; Germany 
Date of Recording: 05/1941 
Venue:  Saal des Deutschen Museums, Munich, Germ 
Length: 41 Minutes 35 Secs. 
141.
Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 1. Introduction...love scene by Richard Strauss
Conductor:  Richard Strauss
Period: Post-Romantic 
Written: 1909-1910; Germany 
Date of Recording: 04/13/1926 
Venue:  Large Queen's Hall, London, England 
Length: 4 Minutes 4 Secs. 
142.
Der Rosenkavalier, Op. 59: Da geht er hin, der aufgeblasene by Richard Strauss
Conductor:  Richard Strauss
Period: Romantic 
Written: 1909-1910; Germany 
Date of Recording: 04/13/1926 
Venue:  Large Queen's Hall, London, England 
Length: 2 Minutes 30 Secs. 
143.
Der Rosenkavalier, Op. 59: Presentation March by Richard Strauss
Conductor:  Richard Strauss
Period: Romantic 
Written: 1909-1910; Germany 
Date of Recording: 04/13/1926 
Venue:  Large Queen's Hall, London, England 
Length: 1 Minutes 43 Secs. 
144.
Der Rosenkavalier, Op. 59: Mir ist..."Rose Presentation" by Richard Strauss
Conductor:  Richard Strauss
Period: Romantic 
Written: 1909-1910; Germany 
Date of Recording: 04/13/1926 
Venue:  Large Queen's Hall, London, England 
Length: 4 Minutes 57 Secs. 
145.
Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2. Love Duet by Richard Strauss
Conductor:  Richard Strauss
Period: Post-Romantic 
Written: 1909-1910; Germany 
Date of Recording: 04/13/1926 
Venue:  Large Queen's Hall, London, England 
Length: 2 Minutes 43 Secs. 
146.
Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 2 / Act 3. Waltz by Richard Strauss
Conductor:  Richard Strauss
Period: Post-Romantic 
Written: 1909-1910; Germany 
Date of Recording: 04/13/1926 
Venue:  Large Queen's Hall, London, England 
Length: 4 Minutes 11 Secs. 
147.
Der Rosenkavalier, Op. 59: Marie Theres'...Hab' mir's gelobt by Richard Strauss
Conductor:  Richard Strauss
Period: Romantic 
Written: 1909-1910; Germany 
Date of Recording: 04/13/1926 
Venue:  Large Queen's Hall, London, England 
Length: 4 Minutes 17 Secs. 
148.
Der Rosenkavalier, opera, Op. 59 (TrV 227): Act 3. Final Duet...Coda by Richard Strauss
Conductor:  Richard Strauss
Period: Post-Romantic 
Written: 1909-1910; Germany 
Date of Recording: 04/13/1926 
Venue:  Large Queen's Hall, London, England 
Length: 2 Minutes 34 Secs. 
149.
Danzas (12) espańolas for Piano, Op. 37: no 7, Valenciana by Enrique Granados
Performer:  Enrique Granados (Piano)
Period: Romantic 
Written: 1892-1900; Spain 
Date of Recording: 03/31/1928 
Venue:  Studio Albert, Paris, France 
Length: 3 Minutes 5 Secs. 
150.
Danzas (12) espańolas for Piano, Op. 37: no 10, Melancolica by Enrique Granados
Performer:  Enrique Granados (Piano)
Period: Romantic 
Written: 1892-1900; Spain 
Date of Recording: 03/31/1928 
Venue:  Studio Albert, Paris, France 
Length: 3 Minutes 8 Secs. 
151.
Goyescas for Piano, Op. 11: Book 2 - no 7, El pelele by Enrique Granados
Performer:  Enrique Granados (Piano)
Period: Romantic 
Written: 1911; Spain 
Date of Recording: 03/31/1928 
Venue:  Studio Albert, Paris, France 
Length: 3 Minutes 6 Secs. 
152.
Canciones populares espańolas (7) by Manuel de Falla
Performer:  Maria Barrientos (), Manuel de Falla (Piano)
Period: 20th Century 
Written: 1914-1915; Spain 
Date of Recording: 03/31/1928 
Venue:  Studio Albert, Paris, France 
Length: 12 Minutes 14 Secs. 
153.
El amor brujo: Canción de fuego fatuo "Song of the will-o'-the-wisp" by Manuel de Falla
Performer:  Maria Barrientos (), Manuel de Falla (Piano)
Period: 20th Century 
Written: 1914-1915; Spain 
Venue:  Studio Albert, Paris, France 
Length: 1 Minutes 38 Secs. 
154.
Soneto a Córdoba by Manuel de Falla
Performer:  Maria Barrientos (), Manuel de Falla (Piano)
Period: 20th Century 
Written: 1927; Spain 
Venue:  Studio Albert, Paris, France 
Length: 3 Minutes 12 Secs. 
155.
Concerto for Harpsichord, Flute, Oboe, Clarinet, Violin and Cello by Manuel de Falla
Performer:  Marcel Darrieux (Violin), Emile Godeau (Clarinet), Auguste Cruque (Cello),
Marcel Moyse (Flute), Georges Bonneau (Oboe), Manuel de Falla (Harpsichord)
Period: 20th Century 
Written: 1923-1926; Spain 
Venue:  Studio Albert, Paris, France 
Length: 15 Minutes 3 Secs. 
156.
Scčnes d'enfants: Jeunes filles au jardin by Federico Mompou
Performer:  Federico Mompou (Piano)
Period: 20th Century 
Written: 1915-1918; Spain 
Venue:  EMI Abbey Road Studios, London, England 
Length: 3 Minutes 12 Secs. 
157.
Suburbis: El Carrer, el guitarrista i el vell cavall by Federico Mompou
Performer:  Federico Mompou (Piano)
Period: 20th Century 
Written: 1916-1917; Spain 
Venue:  EMI Abbey Road Studios, London, England 
Length: 3 Minutes 54 Secs. 
158.
Cançons i dansas (14): no 5, Original by Federico Mompou
Performer:  Federico Mompou (Piano)
Period: 20th Century 
Written: 1952; Spain 
Venue:  EMI Abbey Road Studios, London, England 
Length: 4 Minutes 15 Secs. 
159.
Paisajes (3): no 1, La fuente y la campana by Federico Mompou
Performer:  Federico Mompou (Piano)
Period: 20th Century 
Written: 1942; Spain 
Venue:  EMI Abbey Road Studios, London, England 
Length: 3 Minutes 28 Secs. 
160.
Cançons i dansas (14): no 6, Original by Federico Mompou
Performer:  Federico Mompou (Piano)
Period: 20th Century 
Written: 1942; Spain 
Venue:  EMI Abbey Road Studios, London, England 
Length: 3 Minutes 34 Secs. 
161.
Cançons i dansas (14): no 8, El testament d'Amčlia/Un pobre pagčs by Federico Mompou
Performer:  Federico Mompou (Piano)
Period: 20th Century 
Written: 1946; Spain 
Venue:  EMI Abbey Road Studios, London, England 
Length: 3 Minutes 55 Secs. 
162.
Cantos populares espańoles (20): no 3, Tonada de la nińa by Joaquin Nin
Performer:  Joaquin Nin (Piano), Ninon Vallin ()
Period: 20th Century 
Written: by 1923 
Date of Recording: 12/03/1929 
Venue:  Salle du Conservatoire, Paris, France 
Length: 1 Minutes 42 Secs. 
163.
Cantos populares espańoles (20): no 4, Montańesa by Joaquin Nin
Performer:  Joaquin Nin (Piano), Ninon Vallin ()
Period: 20th Century 
Written: by 1923 
Date of Recording: 12/03/1929 
Venue:  Salle du Conservatoire, Paris, France 
Length: 2 Minutes 32 Secs. 
164.
Cantos populares espańoles (20): no 6, Malagueńa by Joaquin Nin
Performer:  Joaquin Nin (Piano), Ninon Vallin ()
Period: 20th Century 
Written: by 1923 
Date of Recording: 12/03/1929 
Venue:  Salle du Conservatoire, Paris, France 
Length: 2 Minutes 5 Secs. 
165.
Cantos populares espańoles (20): no 7, Granadina by Joaquin Nin
Performer:  Joaquin Nin (Piano), Ninon Vallin ()
Period: 20th Century 
Written: by 1923 
Date of Recording: 12/03/1929 
Venue:  Salle du Conservatoire, Paris, France 
Length: 1 Minutes 54 Secs. 
166.
Cantos populares espańoles (20): no 19, Canto Andaluz by Joaquin Nin
Performer:  Joaquin Nin (Piano), Ninon Vallin ()
Period: 20th Century 
Written: by 1923 
Date of Recording: 12/03/1929 
Venue:  Salle du Conservatoire, Paris, France 
Length: 1 Minutes 30 Secs. 
167.
Cantos populares espańoles (20): no 20, Polo by Joaquin Nin
Performer:  Joaquin Nin (Piano), Ninon Vallin ()
Period: 20th Century 
Written: by 1923 
Date of Recording: 12/03/1929 
Venue:  Salle du Conservatoire, Paris, France 
Length: 1 Minutes 53 Secs. 
168.
Variations on an Original Theme, Op. 36 "Enigma" by Sir Edward Elgar
Conductor:  Sir Edward Elgar
Period: Romantic 
Written: 1898-1899; England 
Venue:  Queen's Hall, London, England 
Length: 24 Minutes 6 Secs. 
169.
The Planets, Op. 32/H 125 by Gustav Holst
Conductor:  Gustav Holst
Period: 20th Century 
Written: 1914-1916; England 
Date of Recording: 06/22/1926 
Venue:  Large Studio, Petty France, London, Engl 
Length: 41 Minutes 3 Secs. 
170.
Die lustige Witwe: Overture by Franz Lehár
Conductor:  Franz Lehár
Period: Romantic 
Written: 1940; Vienna, Austria 
Date of Recording: 01/1942 
Venue:  Musikverein, Vienna, Austria 
Length: 7 Minutes 54 Secs. 
171.
Zigeunerliebe: Hör' ich Cymbalklänge by Franz Lehár
Performer:  Esther Réthy ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1909-1910; Vienna, Austria 
Date of Recording: 01/1942 
Venue:  Musikverein, Vienna, Austria 
Length: 4 Minutes 29 Secs. 
172.
Eva: Overture by Franz Lehár
Performer:  Maria Reining ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1911; Vienna, Austria 
Date of Recording: 01/1942 
Venue:  Musikverein, Vienna, Austria 
Length: 5 Minutes 47 Secs. 
173.
Eva: Im heimlichen Dämmer der silbernen Ampel by Franz Lehár
Performer:  Maria Reining ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1911; Vienna, Austria 
Date of Recording: 01/1942 
Venue:  Musikverein, Vienna, Austria 
Length: 4 Minutes 41 Secs. 
174.
Paganini: Liebe, du Himmel auf Erden by Franz Lehár
Performer:  Esther Réthy ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1925; Vienna, Austria 
Date of Recording: 05/1940 
Venue:  Musikverein, Vienna, Austria 
Length: 3 Minutes 12 Secs. 
175.
Der Zarewitsch: Einer wird kommen, der wird mich begehren by Franz Lehár
Performer:  Esther Réthy ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1927; Vienna, Austria 
Date of Recording: 01/1942 
Venue:  Musikverein, Vienna, Austria 
Length: 3 Minutes 22 Secs. 
176.
Friederike: Warum hast du mich wachgeküsst? by Franz Lehár
Performer:  Maria Reining ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1928; Vienna, Austria 
Date of Recording: 01/1942 
Venue:  Musikverein, Vienna, Austria 
Length: 3 Minutes 40 Secs. 
177.
Das Land des Lächelns: Excerpt(s) by Franz Lehár
Performer:  Vera Schwarz (), Richard Tauber ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1929; Vienna, Austria 
Date of Recording: 10/04/1929 
Venue:  Berlin, Germany 
Length: 2 Minutes 29 Secs. 
178.
Schön ist die Welt: Ich bin verliebt by Franz Lehár
Performer:  Esther Réthy ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1930; Vienna, Austria 
Date of Recording: 01/1942 
Venue:  Musikverein, Vienna, Austria 
Length: 3 Minutes 33 Secs. 
179.
Giuditta: Freunde, das Leben ist lebenswert by Franz Lehár
Performer:  Jarmila Novotná (), Richard Tauber ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1934; Vienna, Austria 
Date of Recording: 01/11/1934 
Venue:  Mieelerer Konzerthaussaal, Vienna, Austr 
Length: 3 Minutes 11 Secs. 
180.
Giuditta: Schön wie die blaue Sommernacht by Franz Lehár
Performer:  Richard Tauber (), Jarmila Novotná ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1934; Vienna, Austria 
Date of Recording: 01/11/1934 
Venue:  Mieelerer Konzerthaussaal, Vienna, Austr 
Length: 3 Minutes 17 Secs. 
181.
Giuditta: Du bist meine Sonne by Franz Lehár
Performer:  Richard Tauber (), Jarmila Novotná ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1934; Vienna, Austria 
Date of Recording: 01/11/1934 
Venue:  Mieelerer Konzerthaussaal, Vienna, Austr 
Length: 3 Minutes 16 Secs. 
182.
Giuditta: Meine Lippen, sie küssen so heiss by Franz Lehár
Performer:  Jarmila Novotná (), Richard Tauber ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1934; Vienna, Austria 
Date of Recording: 01/11/1934 
Venue:  Mieelerer Konzerthaussaal, Vienna, Austr 
Length: 3 Minutes 25 Secs. 
183.
Giuditta: So wie um den Sonnenball by Franz Lehár
Performer:  Richard Tauber (), Jarmila Novotná ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1934; Vienna, Austria 
Date of Recording: 01/11/1934 
Venue:  Mieelerer Konzerthaussaal, Vienna, Austr 
Length: 3 Minutes 0 Secs. 
184.
Giuditta: Schönste der Frau'n by Franz Lehár
Performer:  Richard Tauber (), Jarmila Novotná ()
Conductor:  Franz Lehár
Period: Romantic 
Written: 1934; Vienna, Austria 
Date of Recording: 01/11/1934 
Venue:  Mieelerer Konzerthaussaal, Vienna, Austr 
Length: 3 Minutes 12 Secs. 
185.
Russian Round Dance, Op. 58 no 1 by Nikolai Medtner
Performer:  Nikolai Medtner (Piano), Benno Moiseiwitsch (Piano)
Period: 20th Century 
Written: circa 1940; France 
Date of Recording: 10/24/1946 
Venue:  EMI Abbey Road Studios, London, England 
Length: 5 Minutes 55 Secs. 
186.
Poems (8), Op. 24: no 2, Willow, why for ever bending? by Nikolai Medtner
Performer:  Oda Slobodskaya (), Nikolai Medtner (Piano)
Period: 20th Century 
Date of Recording: 09/06/1947 
Venue:  EMI Abbey Road Studios, London, England 
Length: 1 Minutes 15 Secs. 
187.
Poems (8), Op. 24: no 7, Whisp'ring, Nature faintly stirring by Nikolai Medtner
Performer:  Oda Slobodskaya (), Nikolai Medtner (Piano)
Period: 20th Century 
Date of Recording: 09/06/1947 
Venue:  EMI Abbey Road Studios, London, England 
Length: 1 Minutes 40 Secs. 
188.
Songs (7), Op. 28: no 2, Serenade by Nikolai Medtner
Performer:  Oda Slobodskaya (), Nikolai Medtner (Piano)
Period: 20th Century 
Date of Recording: 09/09/1947 
Venue:  EMI Abbey Road Studios, London, England 
Length: 2 Minutes 0 Secs. 
189.
Fairy Tales (2), Op. 20 by Nikolai Medtner
Performer:  Nikolai Medtner (Piano)
Period: 20th Century 
Written: 1909; Russia 
Date of Recording: 04/21/1936 
Venue:  EMI Abbey Road Studios, London, England 
Length: 6 Minutes 31 Secs. 
190.
Poems (7), Op. 29: no 1, The Muse by Nikolai Medtner
Performer:  Nikolai Medtner (Piano), Elisabeth Schwarzkopf ()
Period: 20th Century 
Date of Recording: 10/16/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 3 Minutes 3 Secs. 
191.
Poems (7), Op. 29: no 6, The Rose by Nikolai Medtner
Performer:  Nikolai Medtner (Piano), Elisabeth Schwarzkopf ()
Period: 20th Century 
Date of Recording: 11/22/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 1 Minutes 55 Secs. 
192.
Poems (6), Op. 32: no 5, The Waltz by Nikolai Medtner
Performer:  Nikolai Medtner (Piano), Elisabeth Schwarzkopf ()
Period: 20th Century 
Date of Recording: 10/16/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 2 Minutes 46 Secs. 
193.
Poems (6), Op. 36: no 3, When roses fade by Nikolai Medtner
Performer:  Nikolai Medtner (Piano), Elisabeth Schwarzkopf ()
Period: 20th Century 
Date of Recording: 11/22/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 2 Minutes 16 Secs. 
194.
Fairy Tales (6) for Piano, Op. 51: no 1 in D minor by Nikolai Medtner
Performer:  Nikolai Medtner (Piano)
Period: 20th Century 
Written: ?1928; France 
Venue:  EMI Abbey Road Studios, London, England 
Length: 5 Minutes 34 Secs. 
195.
Poems (2), Op. 13: no 1, Winterabend by Nikolai Medtner
Performer:  Nikolai Medtner (Piano), Tatiana Makushina ()
Period: 20th Century 
Written: 1903-1907; Russia 
Date of Recording: 09/04/1947 
Venue:  EMI Abbey Road Studios, London, England 
Length: 4 Minutes 1 Secs. 
196.
Poems (6), Op. 32: no 6, To a dreamer by Nikolai Medtner
Performer:  Nikolai Medtner (Piano), Oda Slobodskaya ()
Period: 20th Century 
Date of Recording: 09/06/1947 
Venue:  EMI Abbey Road Studios, London, England 
Length: 4 Minutes 16 Secs. 
197.
Songs (4), Op. 45: no 2, Der Karren des Lebens by Nikolai Medtner
Performer:  Oda Slobodskaya (), Nikolai Medtner (Piano)
Period: 20th Century 
Date of Recording: 09/19/1947 
Venue:  EMI Abbey Road Studios, London, England 
Length: 2 Minutes 32 Secs. 
198.
Pushkin Songs (7), Op. 52: no 2, Der Rabe by Nikolai Medtner
Performer:  Oda Slobodskaya (), Nikolai Medtner (Piano)
Period: 20th Century 
Date of Recording: 09/19/1947 
Venue:  EMI Abbey Road Studios, London, England 
Length: 2 Minutes 31 Secs. 
199.
Fairy Tales (6) for Piano, Op. 51: no 2 in A minor by Nikolai Medtner
Performer:  Nikolai Medtner (Piano)
Period: 20th Century 
Written: ?1928; France 
Date of Recording: 04/22/1936 
Venue:  EMI Abbey Road Studios, London, England 
Length: 3 Minutes 42 Secs. 
200.
Goethe-Lieder (9), Op. 6: no 3, Elfenliedchen by Nikolai Medtner
Performer:  Nikolai Medtner (Piano), Elisabeth Schwarzkopf ()
Period: 20th Century 
Written: 1904-1905; Russia 
Date of Recording: 11/22/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 1 Minutes 29 Secs. 
201.
Goethe-Lieder (9), Op. 6: no 4, Im Vorübergehn by Nikolai Medtner
Performer:  Nikolai Medtner (Piano), Elisabeth Schwarzkopf ()
Period: 20th Century 
Written: 1904-1905; Russia 
Date of Recording: 11/22/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 2 Minutes 18 Secs. 
202.
Goethe-Lieder (12), Op. 15: no 3, Selbstbetrug by Nikolai Medtner
Performer:  Elisabeth Schwarzkopf (), Nikolai Medtner (Piano)
Period: 20th Century 
Written: 1905-1907; Russia 
Date of Recording: 11/22/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 1 Minutes 27 Secs. 
203.
Goethe-Lieder (12), Op. 15: no 5, Aus 'Lila' by Nikolai Medtner
Performer:  Nikolai Medtner (Piano), Elisabeth Schwarzkopf ()
Period: 20th Century 
Written: 1905-1907; Russia 
Date of Recording: 10/19/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 1 Minutes 6 Secs. 
204.
Goethe-Lieder (12), Op. 15: no 7, Meeresstille by Nikolai Medtner
Performer:  Elisabeth Schwarzkopf (), Nikolai Medtner (Piano)
Period: 20th Century 
Written: 1905-1907; Russia 
Date of Recording: 11/22/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 2 Minutes 48 Secs. 
205.
Goethe-Lieder (12), Op. 15: no 8, Glückliche Fahrt by Nikolai Medtner
Performer:  Elisabeth Schwarzkopf (), Nikolai Medtner (Piano)
Period: 20th Century 
Written: 1905-1907; Russia 
Date of Recording: 11/22/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 1 Minutes 15 Secs. 
206.
Gedichte (6), Op. 18: no 3, Einsamkeit by Nikolai Medtner
Performer:  Nikolai Medtner (Piano), Elisabeth Schwarzkopf ()
Period: 20th Century 
Date of Recording: 10/16/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 2 Minutes 17 Secs. 
207.
Fairy Tales (6) for Piano, Op. 51: no 3 in A major by Nikolai Medtner
Performer:  Nikolai Medtner (Piano)
Period: 20th Century 
Written: ?1928; France 
Date of Recording: 05/08/1936 
Venue:  EMI Abbey Road Studios, London, England 
Length: 3 Minutes 28 Secs. 
208.
Songs (7), Op. 46: no 1, Praeludium by Nikolai Medtner
Performer:  Nikolai Medtner (Piano), Elisabeth Schwarzkopf ()
Period: 20th Century 
Date of Recording: 10/16/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 1 Minutes 59 Secs. 
209.
Songs (7), Op. 46: no 5, Winternacht by Nikolai Medtner
Performer:  Nikolai Medtner (Piano), Elisabeth Schwarzkopf ()
Period: 20th Century 
Date of Recording: 10/16/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 3 Minutes 32 Secs. 
210.
Songs (7), Op. 46: no 6, Die Quelle by Nikolai Medtner
Performer:  Elisabeth Schwarzkopf (), Nikolai Medtner (Piano)
Period: 20th Century 
Date of Recording: 11/22/1950 
Venue:  EMI Abbey Road Studios, London, England 
Length: 2 Minutes 12 Secs. 
211.
Forgotten Melodies (8) for Piano, Op. 38: no 3, Danza festiva by Nikolai Medtner
Performer:  Nikolai Medtner (Piano)
Period: 20th Century 
Written: 1918-1920; USSR 
Date of Recording: 04/22/1936 
Venue:  EMI Abbey Road Studios, London, England 
Length: 4 Minutes 43 Secs. 
212.
Le festin de l'araignée, Op. 17: Fragments symphoniques by Albert Roussel
Conductor:  Albert Roussel
Period: 20th Century 
Written: 1912; France 
Date of Recording: 1929 
Venue:  Paris, France 
Length: 15 Minutes 32 Secs. 
213.
Počmes (4), Op. 3: no 3, Le jardin mouillé by Albert Roussel
Performer:  Claire Croiza (), Albert Roussel (Piano)
Period: 20th Century 
Written: 1903; France 
Date of Recording: 12/05/1928 
Venue:  Studio Albert, Paris, France 
Length: 2 Minutes 14 Secs. 
214.
Počmes (4), Op. 8 by Albert Roussel
Performer:  Claire Croiza (), Albert Roussel (Piano)
Date of Recording: 03/12/1929 
Venue:  Studio Albert, Paris, France 
Length: 4 Minutes 2 Secs. 
215.
Počmes chinois (2), Op. 12: no 2, Amoureux séparés by Albert Roussel
Performer:  Albert Roussel (Piano), Claire Croiza ()
Period: 20th Century 
Written: 1907-1908; France 
Date of Recording: 12/05/1928 
Venue:  Studio Albert, Paris, France 
Length: 2 Minutes 3 Secs. 
216.
Mélodies (2), Op. 19: no 1, Light by Albert Roussel
Performer:  Claire Croiza (), Albert Roussel (Piano)
Period: 20th Century 
Written: 1918; France 
Date of Recording: 12/05/1928 
Venue:  Studio Albert, Paris, France 
Length: 3 Minutes 20 Secs. 
217.
L'éventail de Jeanne: Sarabande by Albert Roussel
Performer:  Claire Croiza (), Albert Roussel (Piano)
Period: 20th Century 
Written: 1927; France 
Date of Recording: 12/05/1928 
Venue:  Studio Albert, Paris, France 
Length: 2 Minutes 53 Secs. 
218.
Quintet for Piano and Strings in B minor, Op. 51: Lent by Florent Schmitt
Performer:  Florent Schmitt (Piano)
Period: 20th Century 
Written: 1908; France 
Date of Recording: 06/12/1935 
Venue:  Paris, France 
Length: 14 Minutes 39 Secs. 
219.
Le Tragédie de Salomé, ballet, Op. 50 by Florent Schmitt
Performer:  Florent Schmitt (Piano)
Period: Modern 
Venue:  Théâtre des Champs-Élysées, Paris, Franc 
Length: 27 Minutes 31 Secs. 

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